Friday, October 28, 2011

Movie Reviews!

Let's go movies; let's go! *clapclapclap*
Let's go movies; let's go! *clapclapclap*
Links in the titles.

"I didn’t realize the movie was set in the fifties for quite awhile. Mental institutions are always portrayed as being a bit antiquated. I guess that makes them scarier. When Kristen is first given real clothes to wear, and steps out into the common area looking just like Mamie Van Doren in Untamed Youth or Girls Town (without such magnificent proportions), I thought perhaps it was just a stylistic choice by the filmmakers. But The Ward is indeed set in 1958. Nothing about the movie necessitates that it be set in the past, but the effect of the era and recalling that lost genre when everyone feared teen crime is really fun. Kristen pulls off a rough and tumble Mamie very well."

"You can tell they were going for a Jacob’s Ladder feel, with creatures occasionally appearing and people saying horrible things, but then not really. To a degree you wonder what’s going on, except that really you know what’s going on because the filmmakers showed their hand so early. So it’s hard to share that much of Amy’s worry."

"Ghoulies begins with a cult leader attempting to sacrifice an electric baby. That electric baby is his son. It doesn’t go as planned, so they sacrifice someone else instead and the electric baby grows up and the cult-leader father dies and the electric baby inherits the huge mansion on the old land.

"Electric Baby finds the pull of the land working on him. He drops out of college to fix the place up and do weird magic. He has a big party full of 80s stereotypes and summons his first ghoulie. Why? To wander the land invisible to everyone else and do his bidding, though he bids nothing."

(The pic accompanying Chewie's review of Ghoulies is particularly mind-destroyingly cute.)

"Fred Phelps’ Westboro Baptist Church is mentioned, as 'suers, not doers.' As a Kansan, I’m ashamed of his antics, and yet still felt some sense of pride that the boil on the ass of my state (mixed in with the Branch Davidians[both sides of that situation]) fueled the rage that resulted in this film."

"I’m imagining Joao Machado reading Bret Easton Ellis’s Less Than Zero and thinking, “This doesn’t go far enough.” What you get with The Champagne Club is a pack of spoiled, bored  LA art brats pushing themselves to feel something and in doing so, pushing themselves right over the edge."

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